Topics
1. Soul fumaroles
2. City Paper
3. The Call of Totoral
4. The Grand Bargain
5. Eternal Migration
6. The Voice of Children
7. Action for the Swans
8. Tralcao (Place of Thunder)
9. Hominids (History of Nerve Beings)
10. Workers
11. ENEUJ (This Is Not a Game)
12. Tickets To Go
Carried away by the current creativity and ingenuity that is expressed in his monumental previous album "The Island of the Dead", the Chilean LA DESOOORDEN assembly returns to the fray with another great concept-disc - "Paper City." Although the issue remains militantly committed to the environmental issue, this time the topic focuses on global environmental pollution caused by the excesses of rampant industrialization. The sound feels more charged group, which means less emphasis on the textures of mystical tradition (quite appropriate for the previous album) and more emphasis on the joint fluid of various shades, ornaments and complexities within their well-defined slope rock-fusion. This album reveals a higher dose of harshness typical of rock within the complex amalgam created by the band structure, in the most serene come to light the influence of Congress and, in general, the standards of rock-fusion in terms of rhythmic density and melodic sensibility, while the sharp moments may be noticed certain parallels with the current line KOIAK and MAR DE ROBLES. The work of guitarist Alfonso Banda is higher in comparison with "The Isle of the Dead", because there is more supply to put solos and phrases and make them stand out in the middle of the orchestrations of saxophones and the consistently strong contributions from the pair Rhythm (special mention for the drummer-percussionist Rodrigo Gonzalez, totally masterful in its power and versatility).
tribal syncopated rhythm With a point to reflect a sort of quiet reflection from the heartland, 'fumaroles of the Soul' forms the beginning of the album: it is a subject in which global power is passing smoothly assembly on the rhythmic cadences, while the violin (by a recurring guest, Benjamin Ross) magically talks with sax Peter Pfeifer. The title track goes up the decibels a bit, especially at times (as initial) where the guitar riffs set the tone, but soon we find passages contained in the instrument is qualified to allow dual singing Contreras Altamirano and drive out the front and power points. There is a beautiful interlude that is more relaxed when the subject before the return of the opening motif with an added look epic. Below are two instrumentals, "The Call of Totoral 'and' The Grand Bargain." The first starts with didgeridoo pieces of counterpoint sustained by exotic percussion beats, creating a little while refreshing a ceremonial dance. The second is a performance of jazz-rock, akin to what they do Akinetón RETARD (another great item Chile) in times less explosive: the presence of guests on violin and trumpet sound is full of very effective. 'Migration Eternal' it sounds in principle, a combination of the respective spirits of the first two songs, thus driving the stylistic continuity of the disc. But in addition, local variations and expansions in development that allow the assembly to vent their stylistic ambitions - definitely one of the most sophisticated gems "Paper City." 'The Voice of Children' has a more cinematic aura, noting the passage of flowing piano on a children's choir as the ocarina and certain percussive devices subtly decorate the environment.
'Action for the Swans' film continues this trend in the beginning, where the voice of an activist and the sound of slogans invite us to become aware of the dire urgency of the environmental problem. When the assembly comes into play, things return to their usual musical flow of complexity, but certainly with an aura more heavily towards the dark and mysterious. 'Tralcao (Place of Thunder)' green wave maintains explicit, this time transmitting an acoustic wave which highlights the percussive, incidentally, the soprano saxophone solo is delicious, really. 'Hominids' is an instrumental where the band sounds slightly flirting own avant-garde rock. 'The Workers' partially reiterates the cadence of the song 2, with the variation here are some occasional nods to funk. 'ENEUJ' places, where main reason, all meat on the bones rock a frenzy well into hard rock and psychedelia, emanating from the guitar and from the hard work of the battery, generating an approach to LED ZEPPELIN and RED HOT CHILI PEPPERS. The places where it appears the trumpet invited help create variety oasis in the midst of this torrent. The album ends with reflective landscapes 'Tickets To Go', they are introduced by delicate guitar arpeggios floating over ethereal soprano sax lines. Ethnic drums and delicate ornaments under help maintain an aura of evocation before they enter the sung parts. Occasional flights of violin and trumpet ornaments additional help to complete the colorful spirit of the farewell message envelope.
"City Paper" is a new exquisite artistic achievement of LA DESOOORDEN: recommended as a significant contribution in the forefront of American rock for 2007. César Inca Mendoza
1. Soul fumaroles
2. City Paper
3. The Call of Totoral
4. The Grand Bargain
5. Eternal Migration
6. The Voice of Children
7. Action for the Swans
8. Tralcao (Place of Thunder)
9. Hominids (History of Nerve Beings)
10. Workers
11. ENEUJ (This Is Not a Game)
12. Tickets To Go
Carried away by the current creativity and ingenuity that is expressed in his monumental previous album "The Island of the Dead", the Chilean LA DESOOORDEN assembly returns to the fray with another great concept-disc - "Paper City." Although the issue remains militantly committed to the environmental issue, this time the topic focuses on global environmental pollution caused by the excesses of rampant industrialization. The sound feels more charged group, which means less emphasis on the textures of mystical tradition (quite appropriate for the previous album) and more emphasis on the joint fluid of various shades, ornaments and complexities within their well-defined slope rock-fusion. This album reveals a higher dose of harshness typical of rock within the complex amalgam created by the band structure, in the most serene come to light the influence of Congress and, in general, the standards of rock-fusion in terms of rhythmic density and melodic sensibility, while the sharp moments may be noticed certain parallels with the current line KOIAK and MAR DE ROBLES. The work of guitarist Alfonso Banda is higher in comparison with "The Isle of the Dead", because there is more supply to put solos and phrases and make them stand out in the middle of the orchestrations of saxophones and the consistently strong contributions from the pair Rhythm (special mention for the drummer-percussionist Rodrigo Gonzalez, totally masterful in its power and versatility).
tribal syncopated rhythm With a point to reflect a sort of quiet reflection from the heartland, 'fumaroles of the Soul' forms the beginning of the album: it is a subject in which global power is passing smoothly assembly on the rhythmic cadences, while the violin (by a recurring guest, Benjamin Ross) magically talks with sax Peter Pfeifer. The title track goes up the decibels a bit, especially at times (as initial) where the guitar riffs set the tone, but soon we find passages contained in the instrument is qualified to allow dual singing Contreras Altamirano and drive out the front and power points. There is a beautiful interlude that is more relaxed when the subject before the return of the opening motif with an added look epic. Below are two instrumentals, "The Call of Totoral 'and' The Grand Bargain." The first starts with didgeridoo pieces of counterpoint sustained by exotic percussion beats, creating a little while refreshing a ceremonial dance. The second is a performance of jazz-rock, akin to what they do Akinetón RETARD (another great item Chile) in times less explosive: the presence of guests on violin and trumpet sound is full of very effective. 'Migration Eternal' it sounds in principle, a combination of the respective spirits of the first two songs, thus driving the stylistic continuity of the disc. But in addition, local variations and expansions in development that allow the assembly to vent their stylistic ambitions - definitely one of the most sophisticated gems "Paper City." 'The Voice of Children' has a more cinematic aura, noting the passage of flowing piano on a children's choir as the ocarina and certain percussive devices subtly decorate the environment.
'Action for the Swans' film continues this trend in the beginning, where the voice of an activist and the sound of slogans invite us to become aware of the dire urgency of the environmental problem. When the assembly comes into play, things return to their usual musical flow of complexity, but certainly with an aura more heavily towards the dark and mysterious. 'Tralcao (Place of Thunder)' green wave maintains explicit, this time transmitting an acoustic wave which highlights the percussive, incidentally, the soprano saxophone solo is delicious, really. 'Hominids' is an instrumental where the band sounds slightly flirting own avant-garde rock. 'The Workers' partially reiterates the cadence of the song 2, with the variation here are some occasional nods to funk. 'ENEUJ' places, where main reason, all meat on the bones rock a frenzy well into hard rock and psychedelia, emanating from the guitar and from the hard work of the battery, generating an approach to LED ZEPPELIN and RED HOT CHILI PEPPERS. The places where it appears the trumpet invited help create variety oasis in the midst of this torrent. The album ends with reflective landscapes 'Tickets To Go', they are introduced by delicate guitar arpeggios floating over ethereal soprano sax lines. Ethnic drums and delicate ornaments under help maintain an aura of evocation before they enter the sung parts. Occasional flights of violin and trumpet ornaments additional help to complete the colorful spirit of the farewell message envelope.
"City Paper" is a new exquisite artistic achievement of LA DESOOORDEN: recommended as a significant contribution in the forefront of American rock for 2007. César Inca Mendoza
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